^  ~7> 

THE 


SWEDISH 

EXHIBITION 

1916. 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/swedishartexhibiOObrin 


Lent  by  Arthur  H.  Hahlo  &=  Co. 


ANDERS  L.  ZORN  — Dalecarlian  Girl  in  Winter  Costume 


Official  Catalogue 


The 

Swedish  Art  Exhibition 


By 

Christian  Brinton 


Brooklyn  Museum 

January  thirtieth  to  February  twenty-eighth 

1916 


Cover  by  Brynjulf  Strandenaes 
After  Design  by  Gunnar  Hallstrom 


Copyright,  1916 
By  Christian  Brinton 

First  Impression 
6,000  Copies 


9 

Redfield-Kendriek-Odell  Co.,  Inc. 
New  York 


Exhibition  of 


Contemporary  Swedish  Art 

1916 

Under  the  Auspices  of 

The  Brooklyn  Museum 
The  Copley  Society  of  Boston 
The  Pennsylvania  Academy  of  the  Fine  Arts 
The  Carnegie  Institute,  Pittsburgh 
The  Detroit  Museum  of  Art 
The  Chicago  Art  Institute 
The  Minneapolis  Institute  of  Arts 
The  City  Art  Museum,  St.  Louis 
The  John  Herron  Art  Institute,  Indianapolis 
The  Toledo  Museum  of  Arts 


The  Committee  desires  to  express  its  appreciation  of  the 
services  of  Mr.  Anshelm  Schultzberg,  the  Art  Commissioner 
from  Sweden  to  the  Panama-Pacific  International  Exposi¬ 
tion,  who  has  made  it  possible  to  exhibit  the  Swedish 
Collection  in  the  United  States. 


GABRIEL  STRANDBERG— The  Crippl, 


INTRODUCTION 


THE  art  of  the  Scandinavian  countries  is  the 
youngest,  in  the  matter  of  actual  date,  in  all 
Europe.  It  is  but  a  scant  century  since  Sweden, 
Denmark,  and  Norway  could  boast  what  may  be 
termed  a  native  school.  The  comparative  re¬ 
moteness  of  the  Peninsula  from  the  Continent, 
the  barrier  of  unfamiliar  language,  and  kindred 
causes  conspired  for  a  considerable  period  to  keep 
these  nations  isolated  from  the  main  cultural  cur¬ 
rents  of  the  age.  It  was  the  Swedes  who,  through 
the  restless  lust  of  conquest,  first  came  into  con¬ 
tact  with  the  outside  world,  and  it  is  Swedish  art 
which,  in  point  of  priority  as  well  as  general  im¬ 
portance,  claims  initial  consideration  from  the 
student  of  Scandinavian  aesthetic  development. 

Just  as  it  was  a  German,  Holbein,  who  may  be 
said  to  have  founded  English  painting,  so  it  was  the 
Hamburger  Ehrenstrahl  who  has  been  justly  called 
the  father  of  painting  in  Sweden.  It  was  in  re¬ 
sponse  to  the  desire  for  magnificence  following  the 
pillage  and  plunder  of  the  Thirty  Years  War  that 
such  men  as  the  architect  Tessin  and  the  portrait 
and  decorative  painter  Ehrenstrahl  placed  their 
respective  talents  at  the  service  of  king  and  court. 
The  art  of  the  day  was  regal  and  pompous.  The 
impressive  royal  palace  and  the  baroque  likenesses 


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of  the  three  Swedish  monarchs  whom  Ehrenstrahl 
limned  alike  reflect  the  pretence  of  late  Renaissance 
standards  of  taste.  They  eloquently  typify  that 
militant  pride  which  had  been  inflated  by  brilliant 
victories  upon  foreign  battle-field. 

There  was  however  nothing  racial,  nothing 
indigenous,  in  the  art  of  this  period  any  more  than 
there  was  in  that  of  the  epoch  which  followed. 
The  gay,  sparkling  elegance  of  the  Gustavian 
regime  was  Gallic,  not  Swedish  in  spirit,  and  such 
artists  as  Lundberg,  Roslin,  Lafrensen,  and  Hall 
were  more  Parisian  than  Peninsular.  Gracious  and 
refined  as  was  their  Franco-Swedish  rococo  in¬ 
spiration,  it  was  of  exotic  origin,  a  product  of 
superficial  conditions.  And  so  also  may  be 
characterized  the  British  influence,  chiefly  that  of 
Reynolds  and  Gainsborough,  which  made  itself 
felt  in  the  portraits  of  von  Breda  and  the  land¬ 
scapes  of  Elias  Martin.  It  is  indeed  not  difficult 
to  account  for  the  pessimism  of  that  engaging 
cosmopolitan  Egron  Lundgren  who,  during  the 
early  decades  of  the  last  century,  could  see  scant 
hope  for  the  future  of  Swedish  painting.  And 
yet  matters  were  not  so  bad  as  they  seemed.  The 
sweeping  aside  of  the  arid  formalism  of  the  classic 
era  was  followed  by  the  rise  of  a  romanticism 
which,  despite  manifest  exaggerations,  possessed 
the  sovereign  quality  of  feeling,  of  emotion. 

While  it  is  true  that  most  of  the  Swedish  artists 


8 


of  the  day  were  virtual  expatriates  who  resided 
for  long  periods  abroad  and  devoted  themselves 
to  foreign  type  and  scene,  still  the  glow  of  colour 
and  cult  of  character  found  place  upon  their  can¬ 
vases.  They  flocked  to  Rome,  Dtisseldorf ,  Munich, 
or  Paris  as  the  case  might  be.  Consciously  or  un¬ 
consciously  they  imitated  Leopold  Robert,  Andreas 
Achenbach,  Rottrnann,  or  the  Frenchmen  Dela¬ 
croix  and.  Couture.  Nevertheless,  there  was  in 
their  work  a  striving  for  independence  of  vision 
and  treatment.  Fagerlin,  Jernberg,  and  above  all 
llocker!.,  were  the  leading  exponents  of  peasant 
genre,  while  in  Blommer  and  Malmstrom  you 
meet  flashes  of  genuine  northern  imagination. 
Hdckert,  who  lived  and  painted  for  several  years 
in  Paris,  excelled  both  as  an  interpreter  of  popular 
life  and  as  an  historical  painter,  his  Burning  of  the 
Royal  Palace,  1697,  taking  rank  beside  Pile’s 
Coronation  of  Gustaf  III.  Veritable  precursors  of 
the  modern  movement,  these  men  fostered  as 
best  they  knew  that  spirit  of  nationalism  which 
was  in  due  course  to  redeem  and  revivify  the  art 
of  the  North. 

The  task  so  ably  undertaken  by  Hooker t:  and 
his  associates  was  continued  by  Edvard  Rergh, 
Per  Daniel  Holm,  Alfred  Wahlberg,  Reinhold  X or- 
stedt,  Georg  von  Rosen,  and  Gustaf  Cederstrom. 
With  Bergh  and  Norstedt  you  note  the  increasing 
importance  of  landscape  as  an  independent  motive. 


9 


With  von  Rosen  and  Cederstrom  you  are  face  to 
face  with  competent  portraiture  and  highly  pro¬ 
fessional,  if  somewhat  pretentious,  historical  com¬ 
position.  With  Wahlberg  you  witness  for  the  first 
time  in  Swedish  art  that  unity  of  mood  and  lyric 
beauty  of  sentiment — stamning  the  Swedes  call  it 
— which  presaged  the  coming  of  true  outdoor 
treatment.  It  was  in  fact  such  men  as  Wahlberg, 
August  Hagborg,  and  Hugo  Salmson  who  demol¬ 
ished  the  prestige  of  Diisseldorf  and  identified 
themselves  with  the  contemporary  French  school. 
The  grey-green  landscape  setting  of  Bastien- 
Lepage  and  the  sober  peasant  who  appealed  to 
one’s  sense  of  social  pity,  entered  Swedish  art  with 
the  work  of  these  men.  Sincere  observers  of 
atmospheric  effect,  and  close  students  of  character, 
they  stand  upon  the  threshold  of  modernism.  After 
this  date  there  could  be  no  turning  back.  Light 
once  and  for  all  began  to  shed  its  shimmering 
glory  over  nature  and  man. 

It  has  been  necessary  to  sketch  with  a  certain 
particularity  the  unfolding  of  Swedish  painting 
in  order  that  you  may  fully  grasp  its  general  out¬ 
lines.  At  first  an  effete  and  aristocratic  product 
catering  to  a  limited  section  of  society,  it  ultimately 
became  democratic,  not  to  say  universal,  in  aim 
and  application.  It  submitted  in  a  limited  though 
not  less  specific  degree  to  those  same  influences 
which  moulded  pictorial  taste  on  the  Continent. 


10 


Classic,  romantic,  and  subsequently  realistic,  it 
was  preparing  to  accept  in  robust,  straightforward 
fashion  the  programme  of  the  modern  school. 

In  deference  to  those  who  cling  to  dates,  it  may 
be  well  to  recall  1880  as  the  year  when  these  newer 
ideas  began  to  assume  definite  form  in  the  minds 
of  the  Swedish  painters.  It  was  at  this  epoch 
that  Zorn,  Larsson,  Liljefors,  Nordstrom,  and  the 
talented  but  ill-fated  Ernst  Josephson  were  living 
and  studying  in  France.  They  logically  became 
apostles  of  aesthetic  progress,  ardent  disciples  of 
Manet,  Cazin,  Puvis  de  Chavannes,  and  their 
colleagues.  Restless  of  temperament  and  thirsty 
for  the  picturesque,  Zorn  and  Josephson  posted  off 
to  Spain  and  the  Mediterranean  coast,  but  five 
years  later  they  all  forgathered  in  Stockholm, 
launched  an  exhibition  of  their  work,  and  made 
their  first  bid  for  public  approval.  While  the 
approval  was  by  no  means  unanimous,  they 
managed  to  arouse  considerable  interest  and,  after 
a  spirited  contest,  succeeded  in  enlisting  a  certain 
measure  of  support.  The  exhibition  of  1885  led 
to  the  founding  the  following  year  of  the  society 
known  as  the  Konstnarsforbundet,  an  organ¬ 
ization  which,  despite  its  tendency  toward  autoc¬ 
racy,  has  largely  shaped  the  destiny  of  the  con¬ 
temporary  Swedish  school. 

It  was  this  revolt  against  academic  ascendancy, 
coupled  with  a  spontaneous  return  to  native 


11 


scene  and  inspiration  which  proved  the  salvation 
of  Swedish  art.  Unlike  their  predecessors  the  men 
of  this  particular  period  did  not  remain  abroad, 
but  returned  home  to  continue  the  fight  upon 
Scandinavian  soil.  The  note  of  nationalism  soon 
made  itself  felt  in  their  work,  and  it  is  this  element 
of  nationalism,  sturdy  and  forthright,  which  is  the 
dominant  characteristic  of  latter-day  Swedish 
painting.  Bold  or  delicate,  brilliant  or  subdued, 
the  art  of  these  men  is  a  song  in  praise  of  Sweden. 
There  is  no  corner  of  the  country  where  the  painter 
has  not  penetrated,  no  class  or  condition  of  society 
which  he  has  not  portrayed.  Sverige  genom  konst- 
narsogon — Sweden  through  the  artist’s  eye — is, 
in  the  words  of  our  friend  and  confrere,  Carl  G. 
Laurin,  what  these  painters  have  given  us,  and 
nothing  could  be  more  welcome  or  appropriate. 

Although  bound  together  by  a  manifest  com¬ 
munity  of  aim  and  idea,  each  man  worked  along 
individual  lines.  After  achieving  a  reputation  as 
a  successful  mural  decorator,  Carl  Larsson  settled 
at  Falun,  where  he  built  himself  the  bright-tinted 
home  which  is  famous  the  world  over.  Everyone 
knows  and  loves  Sundborn.  In  these  spirited, 
sparkling  water-colours  we  see  it  winter  and 
summer,  outside  and  within.  Conceived  in  a 
vein  of  Swedish  rococo  with  a  basis  of  substantial 
Dalecarlian  motive,  this  series  constitutes  a  domes¬ 
tic  cycle  the  like  of  which  you  can  meet  nowhere 


12 


else  in  art.  And  just  as  Larsson  found  his  in¬ 
spiration  amid  the  endearing  associations  of  family 
life  and  became  the  foremost  Swedish  intimist,  so 
Bruno  Liljefors,  the  son  of  a  powdermaker  and 
himself  a  born  sportsman-painter,  ranks  as  the 
leading  exponent  of  naturalism.  First  in  Uppland, 
and  later  among  the  wave-washed  skerries  of 
Bullero  in  the  sodra  skargard,  or  Stockholm 
archipelago,  he  studied  on  the  scene,  as  no  other 
artist  has,  the  secrets  of  bird  and  animal  life.  The 
canvases  of  Liljefors  present  to  us  in  their  primal 
spontaneity  of  play  or  hungry  passion  a  family  of 
foxes,  a  pair  of  great  sea  eagles,  or  a  flock  of  wild 
geese  feeding  in  the  lush  marshland.  At  the  out¬ 
set  perhaps  a  trifle  over-faithful  to  certain  purely 
objective  aspects  of  his  subject,  Liljefors  later 
broadened  his  style.  With  succeeding  years  he 
has  learned  to  offer  something  more  than  a  mere 
analysis  of  the  world  of  outdoor  nature.  His 
recent  canvases  indeed  prove  that  he  is  fully  abreast 
of  the  modern  movement. 

While  it  cannot  be  denied  that  Anders  Zorn  has 
always  been  cosmopolitan  in  his  proclivities,  he, 
too,  was  unable  to  resist  the  call  of  his  native 
country,  and  after  a  few  years  constructed  at 
Mora,  near  his  humble  birthplace,  a  spacious 
timber  house  where  he  devotes  himself  to  the 
depiction  of  peasant  type  and  scene.  You  may 
have  met  Zorn  many  times  and  in  many  places, 


13 


yet  you  do  not  know  him  until  you  have  tracked 
him  to  this  forest-screened  retreat  by  the  silver 
rim  of  Lake  Siljan,  which  material  success  has 
enabled  him  to  embellish  after  the  fashion  of  a 
true  prince  of  art.  And  however  much  you  may 
admire  his  likenesses  of  society  queen  or  captain 
of  industry,  there  is  no  gainsaying  the  fact  that  it 
is  at  Mora,  and  still  farther  up  country  at  Gops- 
moor,  where  his  finest  things  have  been  accom¬ 
plished.  The  pull  of  deep-rooted  natural  forces 
here  draws  him  toward  the  very  essence  of  local 
life  and  character  as  they  obtain  in  this  still  un¬ 
spoiled  community.  These  canvases  in  short 
constitute  not  alone  a  precious  series  of  documents 
relative  to  the  customs  and  costumes  of  the  sturdy 
denizens  of  Dalecarlia;  they  also  chant  a  joyous 
hymn  to  bodily  health  and  beauty.  They  are 
frankly  pagan  and  Dionysian  in  spirit.  They 
hark  back  to  days  when  the  world  was  younger 
and  freer  than  it  now  is.  You  have  only  to  glance 
at  them  in  order  to  be  convinced  that  the  antique 
devotees  of  wine,  dance,  and  tuneful  pipe  flourish 
even  in  subarctic  forest. 

Each  section  of  Sweden  has  in  fact  found  its 
chosen  interpreter.  Not  far  from  Larsson’s  de¬ 
lectable  domicile  at  Falun  lives  and  paints 
Anshelm  Schultzberg,  whose  work  is  year  by  year 
acquiring  subtler  colour  and  a  more  concise 
mastery  of  form.  At  Arvika,  near  Lake  Vanern, 


14 


or,  when  the  grip  of  frost  is  upon  him,  at  Abisko, 
in  the  far  north,  may  be  seen  Gustav  Fjaestad, 
Sweden’s  premier  snow  painter.  Formerly  a 
champion  skater,  Fjaestad  pictures  as  does  no 
other  artist  the  inviolate  whiteness  of  winter. 
At  once  naturalistic  and  stylistic,  he  extracts  the 
essential  beauty  from  a  given  subject  no  matter 
how  simple  the  elements  may  be.  And  not  only 
is  he  a  painter,  but  also  a  handicraftsman  of  un¬ 
common  capacity,  his  carved  furniture,  tapestries, 
wood-cuts,  and  the  like  contributing  their  quota 
to  an  always  individual  and  accomplished  en¬ 
semble.  Varmland,  the  home  of  song  and  fancy, 
of  Tegner,  Froding,  and  Selma  Lagerlbf,  was  also 
the  scene  of  the  late  Otto  Hesselbom’s  monumental 
canvases.  In  great,  sweeping  mass  and  rhythmic 
line  he  was  able  to  fix  for  us  the  profile  of  forest 
rising  against  the  sky  and  the  surface  of  lake 
silvered  by  the  sheen  of  long  northern  twilight. 

With  such  pictorial  possibilities  at  hand,  it  is 
small  wonder  that  the  group  of  Swedish  painters 
you  note  congenially  assembled  in  Hugo  Birgir’s 
Luncheon  at  Ledoyen’s  in  the  Goteborg  Museum, 
should  sooner  or  later  have  striven  to  cast  off  an 
effete  continentalism  and  turn  their  eyes  toward 
the  home  country.  The  actual  work  had  however 
to  be  carried  forth  by  fresher,  more  vigorous 
talents.  In  addition  to  the  artists  already  cited, 
mention  should  be  made  of  Carl  Wilhelmson,  of 


15 


the  humorous  and  incisive  Albert  Engstrom,  the 
austere  Nordstrom,  and  Nils  Kreuger,  the  painter 
of  horses  seen  among  the  sparse,  close-cropped 
hill  pastures  of  Oland.  The  production  of  these 
men  and  their  associates,  characteristic  though  it 
be,  nevertheless  offers  but  an  incomplete  picture 
of  that  inspiring  nationalist  movement,  that 
awakening  of  race  consciousness  which  was  at  this 
period  making  itself  felt  along  all  lines  of  Swedish 
endeavour.  You  will  recognize  the  same  forces 
at  play  in  the  early  novels  of  Strindberg— veritable 
masterpieces  of  penetrant  observation,  and  in  the 
more  lyrical  and  colourful  periods  of  Verner  von 
Ileidenstam.  Alike  in  letters  and  in  art  the  study 
of  milieu  became  the  watchword  of  the  younger 
generation. 

The  focal  point  of  this  activity  is  to  be  found 
in  the  life-work  of  the  late  Artur  Hazelius.  It  was 
he  who  rediscovered  for  the  Swedish  people  their 
national  birthright.  With  indefatigable  energy 
and  enthusiasm  he  gathered  from  all  parts  of  the 
Peninsula  the  records  of  a  vanishing  culture  and 
displayed  them  with  accuracy  and  effectiveness. 
You  may  assume  that  you  know  Swedish  art  if 
you  have  visited  the  leading  painters  in  their 
homes,  or  are  familiar  with  the  National  Museum 
and  the  more  comprehensive  contents  of  the 
Goteborg  Museum.  You  may  have  inspected  the 
private  collections  of  Prins  Eugen,  Direktor  Thiel, 


16 


Herr  C.  R.  Lamm,  and  Direktor  Thorsten  Laurin 
yet  something  will  be  lacking  unless  you  have 
studied  the  treasure  troves  of  past  and  present  in 
the  Northern  Museum  and  at  Skansen,  or  better,  at 
first  hand  among  the  country  folk  themselves. 
Sweden  is  pre-eminently  a  peasant  nation,  and  the 
basis  of  Swedish  art  is  to  be  found  in  that  primal 
love  of  pure,  brilliant  colour  and  integrity  of 
structure  which  are  the  essential  characteristics  of 
peasant  achievement.  Collective  rather  than 
individualistic,  this  art  expresses  in  eloquent 
fashion  that  community  of  aesthetic  interest 
which  produces  the  most  significant  and  enduring 
results. 

While  recognizing  the  ready  response  to  foreign 
influence,  the  attainment  of  a  refined  eclecticism 
such  as  you  note  in  Swedish  painting  for  the  past 
century  or  more,  there  can  be  no  question  but 
that  the  best  work  of  these  artists  is  that  which  is 
the  most  fundamentally  national  in  theme  and 
treatment.  Axel  Petersson  is  a  greater  sculptor 
than  was  Molin,  and  the  drawings  of  Albert 
Engstrom,  also  a  native  of  Smaland,  outvalue  the 
delicate  aquarelles  of  Egron  Lundgren.  It  was 
not  until  Sweden  discovered  her  innate,  indigenous 
possibilities  that  art  began  to  develop  in  convincing, 
healthy  fashion.  This  is  the  lesson  which  each 
successive  exhibition  of  Swedish  painting  and 


17 


sculpture  teaches.  And  this  is  the  lesson  you  will 
find  embodied  in  the  current  undertaking. 

It  is  not  onr  intention  to  review  in  detail  the 
comprehensive  display  of  graphic  or  plastic  produc¬ 
tion  which  you  find  within  these  walls.  The  ex¬ 
hibition,  though  in  no  sense  advanced  in  character, 
is  representative  of  present-day  aesthetic  activity 
in  Sweden.  You  will  not  here  observe  any  work 
by  members  of  the  autonomous  and  exclusive 
Konstnarsforbundet.  It  is  a  fixed  principle  of 
this  body  to  appear  alone,  in  isolated  glory,  or  not 
at  all.  As  usual  it  was  in  this  instance  a  case  of 
the  Konstnarsforbundet  or  the  rest  of  Sweden,  you 
therefore  having  before  you  what  is  virtually  the 
rest  of  Sweden. 

The  collection  is  strongest,  it  would  appear,  in 
the  province  of  landscape,  for  Swedish  painting  is 
a  predominantly  salubrious,  outdoor  product.  The 
subtle  decorative  syntheses  of  Fjaestad,  the  grave, 
dignified  vision  of  Gottfrid  Kallstenius,  the  sen¬ 
sitively  viewed  forest  or  snow  scenes  by  Anshelm 
Schultzberg,  and  the  subdued,  lyric  quietude  of 
Erik  Iledberg’s  star-studded  mountain  tarns  all 
form  a  characteristic  panorama  of  exterior  motive. 
It  is  with  pleasure  that  one  can  include  in  this 
category  the  work  of  a  comparative  newcomer, 
Helmer  Osslund,  whose  rich-toned,  rhythmic  studies 
of  northern  waterfall  form  a  significant  accession 
to  a  novel  and  interesting  ensemble.  You  will  in 


18 


addition  not  fail  to  note  the  vigorous  Lofoten 
Island  colour-sketches  of  Anna  Boberg,  or  the 
delicate  panels  of  Oskar  Bergman  whose  gift  of 
decorative  design  is  so  highly  developed,  and  who  is 
able  to  express  so  much  with  the  slender  means  at 
his  disposal. 

While  the  work  of  such  established  favourites  as 
Zorn,  Larsson,  and  Liljefors  speaks  for  itself, 
mention  should  be  made  of  Elsa  Backlund-Celsing 
and  Wilhelm  Smith,  who  combine  upon  fairly  even 
terms  landscape  and  the  figure,  as  well  as  Helmer 
Mas-Olle,  who  devotes  his  energies  to  the  portrayal 
of  the  Dalecarlian  peasant.  The  latter  artist  also 
essays  portraiture,  though  in  scarcely  so  author¬ 
itative  and  accomplished  a  manner  as  does  his 
colleague  Emil  Osterman.  If  the  work  of  Mas- 
Olle  savours  somewhat  of  the  older  school,  the 
same  cannot  be  charged  of  Gabriel  Strandberg, 
who  selects  his  types  from  the  poorer  quarters  of 
Stockholm  and  presents  them  with  virile  stroke  and 
penetrant  intuition.  You  will  in  fact  see  nothing 
in  the  exhibition  comparable  to  these  drink- 
shattered  outcasts  sitting  at  shabby  bar  or  sham¬ 
bling  along  in  mumbling,  melancholy  isolation. 
Strandberg  is  a  modern — modern  in  his  luminous, 
broken  surfaces,  modern  in  his  mordant  analysis 
of  the  downtrodden.  Those  addicted  to  the  pre¬ 
carious  habit  of  comparison  will  doubtless  be 
tempted  to  call  him  the  Scandinavian  van  Gogh, 


19 


saving  that  the  stressful  and  distressed  subjects 
of  the  one  are  urban,  while  those  of  the  other  are 
chiefly  rural. 

As  an  exception  to  that  modified  conservatism 
which  obviously  distinguishes  the  current  offering, 
Strandberg  is  ably  seconded  by  Axel  Torneman, 
who  in  fact  strikes  the  most  progressive  note  of 
the  display.  A  Post-Impressionist  he  may  safely 
be  called,  the  term  being  sufficiently  flexible  to 
include  any  of  the  more  recent  manifestations  of 
aesthetic  unrest.  Others  of  the  younger  and  more 
advanced  group  are  Gregori  Aminoff,  Emil  Zoir, 
and  Hugo  Carlberg,  while  among  those  of  less 
radical  sympathy  may  be  mentioned  Gabriel 
Burmeister,  Wilhelm  Behm,  Alfred  Bergstrom, 
Olle  Hjortzberg,  Axel  Fahlcrantz,  Oscar  Hullgren, 
and  Carl  Johansson,  the  latter  of  whom  finds  his 
inspiration  in  the  Norrland  where  mountain  and 
forest  slumber  in  the  luminous  twilight  of  the 
subarctic  summer. 

The  majority  of  the  foregoing  artists  exhibit  with 
the  society  known  as  the  Svenska  Konstnarernas 
Forenings,  which  holds  its  annual  displays  in 
the  Academy.  Founded  in  1890,  the  organization 
occupies  a  middle  position  in  the  history  of 
contemporary  Swedish  art.  Young  men  such  as 
Helmer  Osslund  and  Hugo  Carlberg  are  welcomed 
within  the  fold,  while  one  notes  at  the  same  time 
those  who,  like  Burmeister,  still  remain  faithful 


20 


to  the  reposeful  Barbizon  tradition.  Whatever 
their  official  affiliations  these  men  are,  however, 
seldom  without  that  capacity  for  sound,  veracious 
observation  which  is  typical  of  the  art  of  their 
country.  Whether  academy  professors  or  in¬ 
dependent  spirits  working  out  problems  on  their 
own  account  in  some  remote  district  they  are  not 
unmindful  of  the  new  and  untried  possibilities  of 
the  modern  palette.  You  will  find  in  Sweden 
substantially  the  same  proportion  of  radicals  and 
conservatives  as  elsewhere.  These  equations  sel¬ 
dom  vary.  There  are  painters  in  the  Konstnars- 
forbundet  whom  one  would  expect  to  see  in  the 
Konstnarernas  Fbrenings  and  vice  versa.  And  it 
is  this  judicious  balance  of  elements  which  adds 
interest  to  the  present  exhibition. 

Somewhat  of  a  revelation  to  the  general  public 
should  prove  the  work  of  John  Bauer  and  Ossian 
Elgstrom,  two  young  men  who  in  different  ways 
typify  the  imaginative  side  of  the  Swedish  tempera¬ 
ment.  Compared  to  the  spontaneous  creative 
fertility  of  Bauer,  the  more  deliberate  concoctions 
of  Kay  Nielsen  or  Dulac  appear  affected  and  arti¬ 
ficial.  These  fragments  from  a  far-off  realm  are 
invariably  convincing,  and  reflect  that  naivete  of 
feeling  which  is  an  essential  feature  of  such  com¬ 
positions.  Sweden  already  knows  and  loves  the 
author  of  Bland  Tomtar  och  Troll,  and  it  is  to  be 
hoped  that  he  may  find  ready  acceptance  in  America. 


21 


Elgstrom,  while  falling  into  the  same  general 
category,  presents  a  different  aspect.  The  northern 
strain  in  him  is  complicated  by  a  touch  of  the 
Asiatic,  an  affinity  with  the  Laplander  and  the 
Japanese.  Gifts  such  as  these  artists  possess  are 
the  special  prerogative  of  youth.  Their  older 
compeer  of  brush  and  pen,  Albert  Engstrom, 
draws  his  inspiration  from  the  well-springs  of 
human  nature  and  character;  they  find  theirs  in  a 
wonder-world  of  awe  and  fancy. 

Concurrently  with  the  development  of  painting 
in  Sweden,  and  cjuite  as  definitely  marked,  has  been 
the  progress  of  the  plastic  arts.  Had  it  not  been 
for  the  sterile  formalism  so  much  in  vogue  during 
his  day,  Sergei  would  have  achieved  notable  results, 
and  the  same  may  be  said  of  Bystrom  and  Fogel- 
berg.  The  ideals  of  the  modern  men  are  vastly 
different  from  those  of  their  predecessors.  A 
stark  monumentality  and  a  marked  feeling  for  the 
material  in  use  be  it  plaster,  bronze,  stone,  or  wood 
characterizes  the  production  of  the  new  school. 
Carl  Milles,  David  Edstrom,  Christian  Eriksson, 
Carl  Eldli,  and  Knut  Jarn  are  all  serious,  vigorous 
talents.  Their  work  is  as  a  rule  glyptic  rather  than 
fictile.  They  prefer  granite  to  the  ready  tract- 
ability  of  wax  or  clay  and  achieve  effects  which  not 
infrequently  suggest  the  stylistic  severity  of  the 
early  Assyrians  or  Egyptians.  Milles  and  Ed¬ 
strom  are  dominant  figures,  the  former  showing 


22 


astounding  creative  fertility,  the  latter  tending 
toward  a  certain  archaism  of  feeling  and  in¬ 
spiration.  There  is  indeed  nothing  finer  of  its 
kind  than  Milles’s  masterly  eagles  which  adorn 
the  terrace  of  Prins  Eugen’s  villa  at  Valdemarsudde. 
The  conceptions  of  Edstrom,  though  more  static, 
are  equally  impressive,  while  the  contribution  of 
Christian  Eriksson  is  instinct  with  grace  and 
movement.  Other  sculptors  who  command  at¬ 
tention  are  Olof  Ahlberg,  Gottfrid  Larsson,  Teodor 
Lundberg,  Herman  Neujd,  and  Ruth  Milles,  all  of 
whom  figure  in  the  present  exhibition. 

When  however  it  becomes  a  question  of  down¬ 
right,  inherent  individuality,  the  foregoing  artists 
must  perforce  give  place  to  the  simple,  self-taught 
peasant  lad  of  Smaland,  Axel  Petersson.  Starting 
life  as  a  joiner,  he  began  carving  for  his  own  diver¬ 
sion  little  figures  of  lean  and  shrewd,  or  jolly  and 
obese  local  types  such  as  he  found  them  ready 
at  hand  in  Doderhult.  Weddings,  christenings, 
funerals,  and  the  like  have  proved  his  favourite 
subjects  and  it  can  only  be  said  that  for  vigour  of 
conception  and  verity  of  characterization,  these 
statuettes  are  worthy  to  rank  beside  the  drawings 
of  Daumier  or  Forain.  Quite  frankly  the  best 
plastic  work  in.  Sweden  is  done  in  the  two  most 
typically  Swedish  media,  granite  and  wood.  And 
this  is  as  it  should  be,  for  Greek  art  is  incon¬ 
ceivable  sa\e  in  terms  of  marble,  nor  could  the 


23 


immobility  of  the  Egyptian  figures  have  been  bet¬ 
ter  expressed  than  in  basalt. 

Surveying  in  sympathetic  perspective  the  ex¬ 
hibition  as  a  whole  you  will  doubtless  concede  the 
fact  that  the  art  of  Sweden  is  a  virile,  wholesome 
manifestation,  full  of  fresh,  unspoiled  observation 
and  revealing  an  almost  pantheistic  absorption  in 
nature  and  natural  phenomena.  There  is  little 
pretence,  little  aesthetic  pose  in  this  work.  Basing 
itself  frankly  upon  national  interest  and  appeal 
it  has  not  strayed  into  tortuous  bypaths  where  one 
is  apt  to  lose  contact  with  actual  life.  Submitting 
by  turns  to  those  larger  influences  which  have 
consecutively  dominated  artistic  endeavour  in 
other  countries,  Swedish  painting  and  sculpture 
have  not  sacrificed  that  sturdy  autonomy  of  temper 
which  must  always  remain  a  requisite  characteristic 
of  aesthetic  production.  The  classic,  romantic, 
realistic,  and  impressionistic  impulses  have  each 
left  their  stamp  upon  this  art,  yet  you  cannot 
discover  a  Swedish  David,  Delacroix,  Courbet,  or 
Claude  Monet.  The  master  currents  typified  by 
the  activities  of  these  northerners  have  been 
adapted  to  specific  conditions.  Though  the  lessons 
taught  upon  the  Continent  have  been  aptly  learned 
you  will  here  encounter  more  assimilation  than 
imitation. 

Granting  that  this  work  displays  a  proper  in¬ 
tegrity  of  purpose,  a  distinctively  national  flavour, 


24 


it  merely  remains  to  be  seen  whether  it  fulfils 
certain  more  general  requirements  which,  after  all, 
constitute  the  test  of  enduring  achievement.  Is 
the  language,  linear,  chromatic,  atmospheric,  and 
emotional,  which  these  canvases  speak  merely 
local,  or  does  it  attain  the  accent  of  universality? 
The  answer  is  one  that  may  well  be  left  to  the 
public,  and,  as  far  as  the  public  is  concerned,  it 
has  already  proved  affirmative.  The  official  ex¬ 
hibitions  of  Swedish  painting  and  sculpture  which 
have  successively  appeared  at  Chicago  in  1893,  at 
St.  Louis  in  1904,  at  Rome  in  1911,  and  at  San 
Francisco  in  1915,  have  each  won  a  generous 
measure  of  critical  as  well  as  popular  approval. 
The  same  may  also  be  said  of  the  itinerant  collec¬ 
tion  which  toured  the  country  in  1895-6,  and  of  the 
Swedish  section  of  the  memorable  Scandinavian 
exhibition  of  1912-13. 

The  present  offering,  which  comprises  much  of 
the  work  recently  on  view  at  San  Francisco,  to¬ 
gether  with  certain  appropriate  additions,  makes 
virtually  the  same  appeal  as  did  its  predecessors. 
It  has  been  organized  along  similar  lines  and  its 
message  to  America  is  in  no  wise  different.  Fresh 
names  have  been  added  and  others  have  disap¬ 
peared.  The  selection  has  in  the  main  tended 
more  toward  conservatism  than  toward  radicalism ; 
a  point  which  has  its  disadvantages  as  well  as  its 
advantages.  While  in  no  sense  holding  a  brief  for 


25 


Leander  Engstrom,  Einar  Jolin,  and  other  auda¬ 
cious  young  Expressionister,  it  is  nevertheless  safer, 
when  it  comes  to  modern  issues,  to  be  inclusive 
rather  than  exclusive  for,  despite  incidental  exag¬ 
gerations  of  mood  and  manner,  the  youngsters 
have  a  disconcerting  habit  of  turning  out  right. 

It  is  manifest  that  Swedish  art,  like  the  art  of 
other  countries,  is  to-day  hesitating  between  the 
old  and  the  new,  the  calm  of  conservatism  and  the 
troubled  tides  of  revolution  and  reform.  The 
canvases  you  see  upon  these  walls  do  not  differ  in 
any  essential  respect  from  those  of  a  decade  or  more 
ago.  They  display  verity  of  observation,  vigour 
of  design,  and  a  requisite  regard  for  atmospheric 
effect.  Save  in  certain  cases,  as  for  example  with 
the  work  of  Fjaestad,  the  element  of  synthesis  is 
conspicuous  by  its  absence.  There  are  in  Sweden 
painters  who  are  able  to  organize  as  well  as  to 
observe,  and  it  is  in  their  hands  that  the  destiny 
of  Swedish  art  resides.  If  in  brief  Swedish  painting 
is  to  remain  true  to  its  traditions — true  especially 
to  that  stirring  impetus  which  emanated  from  the 
men  of  eighteen  eighty — it  cannot  continue  sta¬ 
tionary.  It  must  courageously  advance  into  the 
uncharted  future  where  there  will  be  found  new 
combinations,  new  colours,  and  a  subtler  sense  of 
that  magic  ambience  in  which  all  things  visible 
and  invisible  are  steeped. 


26 


1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 


PAINTINGS 


AMINOFF,  Gregori,  Stockholm 
The  Peacock 

BACKLUND-CELSING,  Elsa,  Johannisberg 
Skiing 

Tobogganing 

BAUER,  John  Albert,  Grenna 

Fairy  Girl 

Brother  Martin 

The  Bogey  is  Furious 

Goblins  and  Dogs 

The  Lady  of  the  Wood 

The  Fairy  and  the  Hulta  Nymph 

The  Giant  Boy  who  Slept  for  Fifteen  Years 

The  Troll 


27 


12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 

24 

25 

26 


Wingmor  Opened 

And  so  They  Rode  Day  and  Night 
The  Goblins  Stealing  Away 
The  Goblins  and  Bianca  Maria 
The  Moose  Watching  Over  Bianca  Maria 
The  Little  Tuvstarr  by  the  Forest  Pool 
“Here  are  the  rest  of  my  clothes” 

The  Swan  Messenger 

And  She  Went  to  the  Water’s  Edge 

“Oh,  what  a  little  Pale-face!” 

The  Echo 

BEHM,  Wilhelm,  Ronninge 

Winter  Evening 

Autumn  Day 

Farmstead 

Snowflakes 


28 


27 

28 

29 

30 

31 

32 

33 

34 

35 

36 

37 

38 

39 

40 

41 


Sunset  in  the  Forest 


Spring  Evening 

BERGMAN,  Oskar,  Stockholm 

Midsummer 

Cliff  and  Snow 

Apple  Blossoms 

Islands  Outside  of  Stockholm 

Fruit  Trees  in  Blossom 

Thaw 

Pines  and  Snow 
Winter  (1) 

Winter  (2) 

Winter  (3) 

Fiesole 
Cypresses 
Grey  Weather 

29 


42 

43 

44 

45 

46 

47 

48 

49 

50 

51 

52 

53 

54 

55 

56 


Ice  after  Storm 


Fir  Trees  and  Snow 

BERGSTROM,  Alfred,  Tullinge 
Summer  Evening 
Old  House 
Winter 

BOBERG,  Anna,  Djurgarden 

First  Snow  in  the  Mountains 

Fisher  Cemetery 

Arctic  Night 

Glacial  Lake 

Fishing  Fleet  at  Anchor 

In  the  Harbour 

Fishing  Fleet  off  the  Coast 

Sunset,  Lofoten 

Spring  Day 

Fair  Weather 


30 


57 

58 

59 

60 

61 

62 

63 

64 

65 

66 

67 

68 

69 


BURMEISTER,  Gabriel,  Stockholm 

Shepherd 

Old  Birch  Tree 

Evening 

Oak  Trees,  Evening 
Pine  Trees,  Lake  Siljan 

CARLBERG,  Hugo,  Wrigstad,  Smaland 
Spring  Morning  by  the  River 
Winter  Day  at  the  River 
March  Day 
In  Smaland 

ELGSTROM,  Ossian,  Norrviken 
The  Duel  (1) 

The  Duel  (2) 

Tjudes  Tales  from  Jakonga  (1,  2,  3) 

The  Laplander  Who  Disbelieved  his  Master 
(1,  2,  3,  4) 


31 


70 

71 

72 

73 

74 

75 

76 

77 

78 

79 

80 

81 

82 

83 


Northern  Lights 
Tarras  or  Five  Gods 
The  Soul’s  Transmigration 
The  Return  to  Earth 

FAHLCRANTZ,  Axel,  Stockholm 
Approaching  Storm 
Moonlight  and  Mist 

FJAESTAD,  Gustav  Adolf,  Arvika 

The  First  Snow 

Winter  Afternoon 

Summer  Night  Breeze 

Cottage  in  the  Forest 

Winter  Moonlight 

Hoar-frost  on  the  Mountains 

Easter 

Moonlight  on  the  Mountain  Lake 


32 


84  Summer  Evening  at  the  River 

85  Pool  in  Winter 

86  Meditation 

GRANSTROM  von  KNAFFL,  Edith,  Berg  vik 

87  The  First  Day  of  Spring 

88  Winter  Day 

HEDBERG,  Erik,  Tallbo,  Jarbo 

89  New-fallen  Snow 

90  Summer  Night 

91  Spring  Evening 

HESSELBOM,  Johan  Ottof 

92  My  Native  Country 

93  View  Across  Lake  Arran 

HJORTZBERG,  Olle,  Saltsjobaden 

94  Italian 


33 


05  Study  of  Head 
90  Forge  in  Terracina 

IIULLGREN,  Oscar,  Pataholm 

97  The  Sea 

98  Winter  Evening,  Lofoten 

99  Breakers 

JOHANSSON,  Carl,  Molnbo 

100  Early  Spring 

101  Evening,  Norrland 

KALLSTENIUS,  Gottfrid,  Salts  jo-Storangen 

102  Moonlight  Along  the  Coast 
108  Windy  Evening 

104  Old  Church,  Gotland 

105  Pine  Trees  in  Sunlight 

106  The  Sacred  Grove 


34 


107 

108 

109 

110 

111 

112 

113 

114 

115 

116 

117 

118 


KUSEL,  Ernst,  Saltsjo-Dufnas 

Calves 

Ducks 

Kids  by  the  Fence 

LARSSON,  Carl,  Sundborn 
In  the  Birch  Grove 
Esbjorn  on  Skis 
Summer  Morning 
The  Dogs 
The  Laundry 
The  Bedroom 
The  Dining-room 

LILJEFORS,  Bruno  Andreas,  Jama 
Sea  Eagles 

MAS-OLLE,  Helmer,  Siijansnas,  Dalarne 
Dalecarlian  Girl 


35 


119  Dalecarlian  Peasant 

120  “Dalmas” 

121  Rector  Magnificus  Henrik  Schtick 

OSSLUND,  Helmer,  Solleftea 

122  Mullfjallet 

123  Waterfall,  Porjus  (1) 

124  Waterfall,  Porjus  (2) 

125  Waterfall,  Handolsforsen 
120  Summer  Evening,  Haggviken 

127  Evening,  Angermanland 

128  Waterfall,  Elfkarleo 

SCIIULTZBERG,  Anshelm  L.,  Stockholm 

129  Winter  in  the  Forest,  Dalecarlia 

130  Winter  Sunset  in  the  Forest 

131  Sunday  in  Winter,  Filipstad 

132  Midsummer  Night  in  Dalecarlia 


36 


133 

134 

135 

130 

137 

138 

139 

140 

141 

142 

143 

144 

145 


Winter  Sunset  in  the  Mountains 


Charcoal  Burning 
Swedish  Summer  Night 
Winter 

SMITH,  Wilhelm,  Carlshamn 

Ploughing 

Fisherfolk 

Winter  Afternoon 

The  Avenue 

“It  will  be  a  windy  night” 

STRANDBERG,  Gabriel,  Stockholm 

The  Cripple 

The  Toper 

Youthful  Gangster 

Tramp 


37 


TORSANDER,  Gustaf,  Brunsberg 

146  Sawmill  in  the  Moonlight 

147  Lamplight  in  the  Fog 

TORNEMAN,  Axel,  Persberg 

148  Torgny  Lagman  (Cartoon  for  decorative 

panel  in  Riksdagshuset,  Stockholm) 

149  The  Fantasist 

150  Slimmer 

151  The  End 

WR ANGEL,  Anna,  Silfakra 

1 52  ( )ld  Man 

153  Fisherfolk 

ZOTR,  Emil,  Stora  Skar,  Goteborg 

154  Potato  Picking 


38 


ZORN,  Anders  Leonard,  Mora 
155  Dalecarlian  Girl  in  Winter  Costume 


OSTERMAN,  Emil,  Tullinge 
156  The  Late  Professor  Carl  Curman 


39 


PRINTS 


BERGSTROM,  Sigge,  Filipstad 

157  Filipstad 

158  At  the  Mouth  of  the  River 

159  Along  the  Shore 

160  Hokberget 

161  Winter 

BEVE,  Eva,  Stockholm 

162  Meditation 
168  Prayer 

164  Parrot 

BOBERG,  Ferdinand,  Djurgarden 

165  Ferryboat 

166  Venetian  Boats 


40 


167 

168 

169 

170 

171 

172 

173 

174 

175 

176 

177 

178 

179 


Fog  in  the  Harbour 
Moonlight 

Hedvig  Eleonora  Church,  Stockholm 
Ridderhuset,  Stockholm 
Karoline  Chapel,  Stockholm 
Street  Near  Ridderhuset,  Stockholm 

BURMEISTER,  Gabriel,  Stockholm 
Old  House  in  Dalecarlia 
The  Silent  Place 
Adagio  Pathetique 

FJAESTAD,  Gustav  Adolf,  Arvika 

The  First  Snow 

Portrait  of  the  Artist 

Gustaf  Eroding 

April  Morning 


41 


180 

181 

182 

183 

184 

185 

186 

187 

188 

189 

190 

191 

192 


JOHANSSON-THOR,  Th.,  Stockholm 
Ploughed  Field,  Skane 
Farm,  Skane 
Evening,  Skane 

LARSSON,  Carl,  Sundborn 
The  Curtsy 
Nude  (1) 

Nude  (2) 

Martina 
Anna  Stina 

Karin  Dressing  Kersti’s  Hair 

Mother 

Lisbeth 

MAGNUSSON,  Gustaf,  Enskede 
Portrait  of  the  Artist 
The  Princess 


42 


193 

194 

195 

196 

197 

198 

199 

200 

201 

202 

203 

204 

205 


Salome 


Hanna 

Finger  Exercises 
The  Dancer 
Her  First  Pose 

MAS-OLLE,  Helmer,  Siljansnas,  Dalarne 

Rector  Magnificus  Henrik  Schlick 

G.  Bernard  Shaw 

Old  Dalecarlian  Man 

Dalecarlian  Woman 

My  Wife 

NORLIND,  Ernst,  Borgeby,  Fladie 
Rooks 

Stork  Family 
Chuich,  Skane 

43 


206 

207 

208 

209 

210 

211 

212 

213 

214 

215 

216 

217 


PETERSEN,  Carl  Olof,  Dachau,  Bayern 

Cals 

Fowls 

Owl 

Pepper  Bird 

In  the  Crinoline  Time 

PETRUS,  Anna,  Stockholm 
Karin 

Siri  Smoking 
Profile 

RAMBERG,  Gustaf,  Helsingborg 

Croft  in  Skane 

Milking-time 

SAHLSTROM,  Anna,  Torsby 

Youth 

Oat  Harvest 


44 


SCULPTURE 


AHLBERG,  Olof,  Stockholm 

218  In  the  Sun 

BORJESON,  JOHNf 

219  Consolation 

220  Music 

221  Art  and  Craft 

BORJESON,  Lena,  Stockholm 

222  The  Changeling 

LARSSON,  Gottfrid,  Stockholm 

223  The  Brute 

LUNDBERG,  Johan  Teodor,  Stockholm 

224  Orpheus 

225  Siren 

226  The  Wave  and  the  Shore 

227  Mother’s  Joy 


45 


228 

229 

230 

231 

232 

233 

234 

235 

236 

237 

238 

239 

240 

241 


MILLS,  Ruth,  Lidingo  Villastad 

Young  Peasant  Woman 

Old  Peasant  Woman 

The  Little  Cripple 

The  Busy  Little  Girl 

After  Waiting  in  Vain 

Fisherwife 


NEUJD,  Herman,  Spagna 
Stina 

Head  of  Boy 
Fourteen  Years  Old 
Little  Dancing  Girl 


PETERSSON,  Axel  (Doderhultaren), 

Oskarshamn 


The  Village  Trial 
A  Game  of  Chess 
A  Troublesome  Fly 


WISSLER,  Anders,  Mariefred 
Peasant  Violinist 


46 


HELMER  MAS-OLLE— Dalecarlian  Peasant 


47 


48 


GUSTAV  A.  FJAESTAD — Summer  Night  Breeze 


49 


GUSTAV  A.  FJAESTAD  —  Moonlight  on  the  Mountain  Lake 


OLLE  HJORTZBERG  — Italian 


50 


ELSA  BACKLUNB-CELSING — Tobogganing 


51 


52 


CARL  LARSSON —  Summer  Morning 


53 


CARL  LARSSON — Esbjorn  on  Skis 


54 


GOTTFRID  KALLSTENIUS — The  Sacred  Grove 


55 


OSSIAN  ELGSTROM— The  Duel 


JOHN  BAUER  —  The  Little  Tuvstarr  by  the  Forest  Pool 


5(3 


JOHN  BAUER -“-“Oh,  what  a  little  Pale-faee” 


57 


GUSTAF  TORSANDER  —  Sawmill  in  the  Moonlight 


mMs 


59 


HUGO  CARLBERG — Spring  Morning  by  the  River 


EMIL  OSTERMAN  —  The  Late  Professor  Carl  Curinan 


60 


WILHELM  SMITH  — Fisherfolk 


61 


62 


OTTO  HESSELBOM  —  My  Native  Country 


63 


ANNA  BGBER6 — Fishing  Fleet  at  .Anchor 


AXEL  TORNEMAN— The  Fantasist 


G4 


HELMER  MAS-OLLE  —  Rector  Magnificus  Henrik  Schuch 


65 


66 


ANSHELM  SCHULTZBERG  —  Swedish  Summer  Night 


67 


ANSHELM  SCHULTZBERG — Winter  in  the  Forest,  Dalecarlia 


68 


liRUNO  A.  LIL JEFORS  —  Sea  Eagles 


LIST  OF  ILLUSTRATIONS 

Page 

Backlund-Celsing,  Elsa:  Tobogganing  .  .  51 

Bauer,  John  Albert 

The  Little  Tuvstarr  by  the  Forest  Pool  56 
“Oh,  what  a  little  Pale-face!”  ...  57 

Boberg,  Anna:  Fishing  Fleet  at  Anchor  .  63 

Carlberg,  Hugo:  Spring  Morning  by  the  River  59 

Elgstrom,  Ossian:  The  Duel . 55 

Fjaestad,  Gustav  Adolf 

Summer  Night  Breeze . 48 

Moonlight  on  the  Mountain  Lake  49 

Hesselbom,  Johan  Otto 

My  Native  Country . 62 

Hjortzberg,  Olle:  Italian . 50 

Kallstenius,  Gottfrid:  The  Sacred  Grove  54 

Larsson,  Carl 

Summer  Morning . 52 

Esbjorn  on  Skis  . 53 

Liljefors,  Bruno  Andreas:  Sea  Eagles  68 


69 


Mas-Olle,  Helmer  Page 

Dalecarlian  Peasant . 47 

Rector  Magnificus  Henrik  Schtick  .  65 

Schnltzberg,  Anshelm  Leonard 

Swedish  Summer  Night  ....  66 

Winter  in  the  Forest,  Dalecarlia  .  .  67 

Smith,  Wilhelm:  Fisherfolk . 61 

Strandberg,  Gabriel:  The  Cripple  ...  6 

Torsander,  Gustaf:  Sawmill  in  the  Moonlight  58 
Torneman,  Axel:  The  Fantasist  ....  64 

Zorn,  Anders  Leonard 

Dalecarlian  Girl  in  Winter  Costume  .  2 

Osterman,  Emil 

The  Late  Professor  Carl  Curman  60 


70 


LIST  OF  ARTISTS 


Page 


Ahlberg,  Olof . 

.  .  .  45 

Aminoff,  Gregori . 

.  .  .  27 

Backlund-Celsing,  Elsa  . 

.  .  .  27,  51 

Bauer,  John  Albert  .... 

.  27,  56,  57 

Behm,  Wilhelm . 

.  .  .  28 

Bergman,  Oskar . 

.  .  .  29 

Bergstrom,  Alfred  .... 

.  .  .  30 

Bergstrom,  Sigge  ..... 

.  .  .  40 

Beve,  Eva . 

.  .  40 

Boberg,  Anna . 

.  .  .  30,  63 

Boberg,  Ferdinand  .... 

40 

Borjeson,  John . 

45 

Borjeson,  Lena . 

.  .  .  45 

Burmeister,  Gabriel  .... 

.  31,  41 

Carlberg,  Hugo . 

.  .  31,  59 

Elgstrom,  Ossian . 

.  .  31,  55 

Fahlcrantz,  Axel . 

.  .  .  32 

Fjaestad,  Gustav  Adolf  . 

.  32,  41,  48,  49 

Grandstrom  von  Knaffl,  Edith  . 

.  .  .  33 

Hedberg,  Erik . 

.  .  .  33 

Hesselbom,  Johan  Otto  . 

.  .  .  33,  62 

Hjortzberg,  Olle . 

.  .  .  33,  50 

Hullgren,  Oscar . 

.  .  .  34 

Johansson,  Carl  ..... 

.  .  .  34 

Johansson-Thor,  Th. 

.  .  .  42 

71 


Page 


Kallstenius,  Gottfrid 

.  .  .  34,  54 

Kiisel,  Ernst . 

.  .  .  35 

Larsson,  Carl . 

.  35,  42,  52,  53 

Liljefors,  Bruno  Andreas 

.  .  .  35,  68 

Lundberg,  Johan  Teodor 

.  .  .  45 

Magnusson,  Gustaf  .... 

.  .  .  42 

Mas-Olle,  Helmer  .... 

.  35,  43,  47,  65 

Mi  lies,  Ruth . 

.  .  .  46 

Neujd,  Herman . 

.  .  .  46 

Norlind,  Ernst . 

.  .  .  43 

Osslund,  Helmer . 

.  .  .  36 

Petersen,  Carl  Olof  .... 

.  .  .  44 

Petersson,  x4xel . 

46 

Petrus,  Anna . 

.  .  .  44 

Ramberg,  Gustaf  .... 

.  .  .  44 

Sahlstrom,  Anna  . 

.  .  .  .  44 

Schultzberg,  Anshelm  Leonard  . 

.  .  36,  66,  67 

Smith,  Wilhelm . 

.  .  .  37,  61 

Strandberg,  Gabriel  .... 

.  .  6,  37,  47 

Torsander,  Gustaf  .... 

.  .  .  38,  58 

Torneman,  Axel . 

.  .  .  38,  64 

Wissler,  Anders . 

.  .  .  46 

Wrangel,  Anna . 

.  .  .  38 

Zoir,  Emil . 

38, 

Zorn,  Anders  Leonard 

.  .  .  2, 39 

Osterman,  Emil . 

.  .  .  39,  60 

72 


GETTY  CENTER  LIBRARY 


